abstract: This project is a critical look at Chicano artist Vincent Valdez's 2002-2004 series Stations. The theoretical framework for this work is the concept of cultural citizenship, which refers to a variety of ways in which marginalized groups of people create, fight for, and retain space, identity, and rights within American society through acts of daily life. This research considers how the ten large-scale charcoal drawings that comprise Stations contribute to the construction and representation of distinct and unique Latino spaces and identities. Valdez establishes space in the sense of belonging and community engagement that his work allows. Within this context, thoughtful attention is paid to the cultural meaning of the artist's subject choices of boxing and religion. This research considers the significance of these subject choices and how the connections between the two create unique spaces of shared experience and consciousness for a viewer of the work. However, the parallels that Valdez draws between the Christ figure and his boxer also allow for a careful examination of the representations and contradictions of contemporary constructions of masculinity that are present in the series. Within this project, the work of Gloria Anzaldúa is critical in understanding and discussing the fluid nature of Chicano identity. This study also considers how in the tradition of Chicana writers, Valdez expresses and affirms identity through autobiographical methods. Further, the artist's use of charcoal to create these large scale drawings is considered for its narrative qualities. This study concludes that Valdez's series Stations is an act of cultural citizenship. / Dissertation/Thesis / M.A. Art History 2010

Our knowledge of how oil spills affect coastal environments is severely limited by the shortage of research that addresses the impact of these events on phytoplankton, the single most important group of organisms in the marine ecosystem. This scarcity of knowledge is mainly attributed to the absence of baseline data, preventing the comparison of pre- and post-spill populations. This unique study aims to identify how dinoflagellates and diatoms, the two major groups of phytoplankton in coastal marine environments, have been affected by the 1989 Exxon Valdez oil spill in Prince William Sound (PWS), Alaska. To do this, sedimentary records of dinoflagellate cysts, produced during a dinoflagellate's life cycle and preserved in the sediment, and biogenic silica, a proxy for diatom abundance, were analyzed prior to, during and after the oil spill. The analysis of two well-dated cores in PWS reveals marked increases during the oil spill in the concentrations of total cysts of the species Operculodinium centrocarpum sensu Wall and Dale, (1966) and Dubridinium spp. Total cyst concentrations doubled in core P-10 from 362 to 749 per g, while in core P-12 the increase was from 1175 to 1771 cysts g-1. During this peak in cyst concentrations, total concentrations were 3 and 2 standard deviations greater than the mean in cores P-10 and P-12, respectively. Dubridinium spp. showed a five and sevenfold increase in concentrations in cores P-10 (4 to 20 cysts g-1) and P-12 (16 to 110 cysts g-1), respectively, while O. centrocarpum sensu Wall and Dale, (1966) doubled in concentrations in the two cores (P-10: 117 to 276 cysts g-1; P-12: 268 to 495 cysts g-1). Biogenic silica values did not show significant changes throughout the cores, with values varying between 8% and 9% in core P-10 and 9.0% to 10.9% in core P-12. These changes lie within or very close to the standard deviation of the analyzed standards, suggesting that much of the changes could be analytical noise. The dinoflagellate cyst signals seen in this study are comparable to those seen as a result of nutrient enrichment in estuarine systems, suggesting that the 1989 Exxon Valdez oil spill and its remediation had a stimulatory effect on some taxa of cyst- producing dinoflagellates. This impact appears to be short-lived, with cyst concentrations returning to pre-spill levels within two years of the event. The lack of change in diatom abundance, on the other hand, suggest that diatom abundance remained relatively constant during the entirety of the sample period. / Graduate / 2020-07-10

Thesis (Ph. D.)--University of Arizona, 1986. / Text in Spanish, with abstract in English. Includes bibliographical references (leaves 157-165).

The development of a reliable, and cost-effective in-situ method for characterizing the liquefaction potential of gravelly soils is a considerable challenge for engineers and researchers. The ability to accurately characterize the liquefaction potential of gravelly soils is an important consideration at port facilities and dams for example. The Dynamic Penetration Test (DPT) provides a reliable and cost-effective method for evaluating the liquefaction resistance of gravelly soils. Probabilistic liquefaction triggering curves based on DPT field data have been developed from data collected at 47 sites in China. However, using the DPT-based liquefaction curves for locations outside of the Chengdu plain in China where the data for the triggering curves were gathered may yield unreliable results. To improve the reliability of the DPT-based liquefaction triggering curves additional DPT field data form outside of the Chengdu plain is required. In total seven new non-liquefaction DPT case histories are presented in this report. Two of the case histories are based on DPT field data from Valdez, Alaska. The remaining five case histories were developed from DPT field data from L'Aquila, Italy. When plotted on the liquefaction triggering curves based only on the DPT data obtained in the Chengdu plain three of the seven data points plot in a position that indicates a considerable possibility of liquefaction despite these case histories being from locations where liquefaction did not occur. Roy (2021) developed new DPT-based liquefaction triggering curves with these seven new non-liquefaction case histories, DPT filed data from other sites around the world, and the DPT field data from the Chengdu plain. The three data points from the new case histories presented in this report that had a considerable probability of liquefaction when plotted on the curve developed only with the data from the Chengdu plain had a significantly lower probability of liquefaction when plotted on the new DPT-based liquefaction triggering curves. One of the data points from Valdez, Alaska decreased from a probability of liquefaction of around 50% to a probability of liquefaction of less than 30% when plotted on the new DPT-based liquefaction triggering curves. The reliability of DPT-based liquefaction triggering curves will continue to increase as the amount of available DPT data increases.

Essa pesquisa constrói uma reflexão sobre o trabalho de El Teatro Campesino, grupo fundado em 1965 na Califórnia com o objetivo de criar peças de agit-prop, chamadas de actos, que propunham discutir temas pertinentes à sociedade camponesa chicana. Dois actos, formulados a partir de criações coletivas, são analisados nessa tese: Quinta Temporada cujo tema central são as greves organizadas na década de 1960 pelo sindicato United Farm Workers (Trabalhadores Agrários Unidos), liderado por César Chávez, militante de enorme importância ao Mexican American Civil Rights Movement (Movimento pelos Direitos Civis dos Mexicano-Americanos) e Vietnam Campesino, marco do teatro militante norte-americano, que discute temas não só relativos à Guerra do Vietnã, mas também a inúmeras outras questões caras à comunidade chicana. Além dos actos, nossa pesquisa também analisa o musical Zoot Suit, de autoria individual de Luis Valdez, fundador do Teatro Campesino, e que alcançou grande projeção ao se tornar a primeira peça de temática chicana escrita por um chicano a ser produzida na Broadway. / This research analyses the work of El Teatro Campesino, a theater group founded in 1965 in California, in order to perform agit-prop plays, called actos. The actos aimed at discussing themes which were relevant to rural chicano society. Two collectivelly created actos are analyzed in this thesis: Quinta Temporada in which the central theme is the strikes organized in the 1960s by the United Farm Workers, conducted by César Chávez, a militant of great importance to the Mexican American Civil Rights Movement and Vietnam Campesino, a milestone of the North-American political theater, which discusses themes related not only to the Vietnam War, but also many other pertinent issues to chicano society. Besides the actos, our research also analyses the musical Zoot Suit, written by Luis Valdez, founder of the Teatro Campesino, which became widely known as the first play concerning chicano themes written by a chicano to be produced on Broadway.

Este trabalho examina a forma estética sob os tópicos ruptura, inovação e transformação de 5 peças no contexto de reivindicações sócio-políticas da década de 1960 nos Estados Unidos por parte de dois grupos teatrais extremamente significativos em suas propostas e atuação, a saber: o Teatro Campesino (TC), feito por e para chicanos na Califórnia, e o Black Revolutionary Theatre (BRT - Teatro Negro Revolucionário), feito por e para afro-americanos em Nova York. / This paper reviews the aesthetic form under the topics rupture, innovation and transformations in 5 plays in the context of social political demands in the 1960s in the United States by two extremely significant theatre groups concerning their goals and performance, to wit: Teatro Campesino (TC), made by and for Chicanos in California, and Black Revolutionary Theatre (BRT), made by and for Afro-Americans in New York.

Este trabalho examina a forma estética sob os tópicos ruptura, inovação e transformação de 5 peças no contexto de reivindicações sócio-políticas da década de 1960 nos Estados Unidos por parte de dois grupos teatrais extremamente significativos em suas propostas e atuação, a saber: o Teatro Campesino (TC), feito por e para chicanos na Califórnia, e o Black Revolutionary Theatre (BRT - Teatro Negro Revolucionário), feito por e para afro-americanos em Nova York. / This paper reviews the aesthetic form under the topics rupture, innovation and transformations in 5 plays in the context of social political demands in the 1960s in the United States by two extremely significant theatre groups concerning their goals and performance, to wit: Teatro Campesino (TC), made by and for Chicanos in California, and Black Revolutionary Theatre (BRT), made by and for Afro-Americans in New York.

Essa pesquisa constrói uma reflexão sobre o trabalho de El Teatro Campesino, grupo fundado em 1965 na Califórnia com o objetivo de criar peças de agit-prop, chamadas de actos, que propunham discutir temas pertinentes à sociedade camponesa chicana. Dois actos, formulados a partir de criações coletivas, são analisados nessa tese: Quinta Temporada cujo tema central são as greves organizadas na década de 1960 pelo sindicato United Farm Workers (Trabalhadores Agrários Unidos), liderado por César Chávez, militante de enorme importância ao Mexican American Civil Rights Movement (Movimento pelos Direitos Civis dos Mexicano-Americanos) e Vietnam Campesino, marco do teatro militante norte-americano, que discute temas não só relativos à Guerra do Vietnã, mas também a inúmeras outras questões caras à comunidade chicana. Além dos actos, nossa pesquisa também analisa o musical Zoot Suit, de autoria individual de Luis Valdez, fundador do Teatro Campesino, e que alcançou grande projeção ao se tornar a primeira peça de temática chicana escrita por um chicano a ser produzida na Broadway. / This research analyses the work of El Teatro Campesino, a theater group founded in 1965 in California, in order to perform agit-prop plays, called actos. The actos aimed at discussing themes which were relevant to rural chicano society. Two collectivelly created actos are analyzed in this thesis: Quinta Temporada in which the central theme is the strikes organized in the 1960s by the United Farm Workers, conducted by César Chávez, a militant of great importance to the Mexican American Civil Rights Movement and Vietnam Campesino, a milestone of the North-American political theater, which discusses themes related not only to the Vietnam War, but also many other pertinent issues to chicano society. Besides the actos, our research also analyses the musical Zoot Suit, written by Luis Valdez, founder of the Teatro Campesino, which became widely known as the first play concerning chicano themes written by a chicano to be produced on Broadway.

Thesis (M Arch)--Montana State University--Bozeman, 2008. / Typescript. Chairperson, Graduate Committee: John Brittingham. Includes bibliographical references (leaves 90-92).

This study draws parallels between the dramatic works Rabinal Achí­, an anonymous ancient Mayan text, and the Luis Valdez masterpiece Zoot Suit. The parallel that I seek to establish is one of the strong trend of historical revisionism in both works as well as a parallel development of plot and characterization. This work does not claim to be representative of revisionism as a whole, nor does it seek to establish a new official history, but it does to demonstrate how both works, even though they are separated by hundreds of years, share a common bond of subversion and direct opposition to established norms and to the "facts" of a recorded official history in an attempt to give voice to the experience of the historically overlooked individual.